You can read the interview with Olivier Mignon, Keijiban founder, in Italian on Hanabi Temple's website.
Some time ago, we had the pleasure of interviewing Olivier Mignon, a director of editorial platforms and magazines specializing in contemporary art. He is also the owner of Keijiban, an original exhibition space in Kanazawa. In Japanese, Keijiban 掲示板 means "bulletin board," and that is exactly how one should imagine it: a small display case on the side of the road, protected by a glass panel, inside which notices or flyers are usually posted. By reinterpreting its use, Olivier decided to display works by various foreign artists, giving them the opportunity to gain international visibility.
It is a fascinating initiative that puts art in the public eye, giving new life to an everyday object that often goes unnoticed. Let's learn more about it and be carried away by the enthusiasm of its founder while also discussing Japanese art.
A photo of a bulletin board with three sheets. The board is placed along a street, with Japanese-style houses visible on the sides. Keijiban with works by Adrien Lucca. Image taken from the website.
Hanabi Temple: Can you tell us a bit about Keijiban? It is quite a unique exhibition space. Why did you choose this particular way of displaying artwork? Olivier Mignon: I had wanted to use the keijiban as an art showcase since my first stays in Japan almost fifteen years ago. The concrete project, however, was born in the spring of 2020, in Brussels. My wife and I had already decided to return to Japan in the near future, but the coronavirus accelerated everything. The period of isolation gave us time to think about our move and our upcoming projects in detail... The idea of the abandoned keijiban seemed like the perfect way to display art in a pandemic context.
Keijiban are outdoor bulletin boards that can be found practically everywhere in Japanese cities—most often linked to temples or neighborhood associations (providing information on waste collection, advertising yoga classes for retirees, etc.). Even though they are ubiquitous and meant to be "notice boards," most people no longer pay attention to them. I wanted to use this type of space to blend into the surroundings, to merge with the background. I also liked the idea of creating a contrast with this contextual structure by inviting only artists living abroad, regardless of their nationality, thus transforming this highly local showcase into a window to the outside world.
H.T.: What kind of artwork do you present? O.M.: Keijiban is not just an art showcase but also a publishing house. The works I present are limited editions, mostly produced here in Kanazawa as a result of long correspondence with the artists. The editions are displayed in the showcase for a month, starting on the 15th of each month, after which they are put up for sale on our website and shipped worldwide.
H.T.: What led you to open an exhibition space in Kanazawa? Is it a particularly favorable place for someone looking to start such an endeavor? Or is there another reason? O.M.: I lived in Kanazawa from 2012 to 2017 before temporarily returning to Brussels. While in Belgium, I missed Kanazawa a lot. It is such a beautiful and well-preserved city with a long and rich history. Culture, and especially craftsmanship, have been strongly promoted for centuries, making it a city highly appreciated by artisans, writers, etc. The 21st Century Museum of Contemporary Art, built in 2004 by SANAA, has also made the city more well-known on the art scene. That said, there are not many places in the area to see "contemporary" art, especially by international artists. One of Keijiban's goals is to help bridge this gap.
H.T.: How do you choose the artists you present? Do you plan to feature Japanese artists in the future? O.M.: The choice is intuitive, based on elective affinities. Many of the artists are people I have already worked with or whom I have been waiting for the right opportunity to invite. That said, the showcase is quite a particular exhibition structure, as it is only a few centimeters deep. Therefore, I tend to favor artistic practices mainly focused on two-dimensional work that engages with context and/or some sort of underlying dialogue with Japanese culture.
Keijiban's premise is to invite artists living abroad to present their work in a very local context in Kanazawa, regardless of their nationality. So yes, I might present Japanese artists in the future, provided they are based outside Japan.
H.T.: Finally, I cannot help but ask about the impact the pandemic has had on the Japanese art scene and your projects. O.M.: As in the rest of the world, museums and galleries had to temporarily close from time to time and implement measures to accommodate visitors. It has obviously been a very challenging period for anyone involved in art and its presentation. As for my projects, they were not really affected by the pandemic since Keijiban was conceived precisely in that context. It was designed to be resilient to the COVID-19 issue, as its showcase is outdoors, visible at any time, and the editions are available online.
A circular building made of glass and white cubic structures extends onto a green lawn. The 21st Century Museum of Contemporary Art in Kanazawa from Wikimedia Commons.
H.T.: What do you think of the Japanese art scene, both globally and locally? Are there any events or spaces (museums, art centers, galleries) that particularly catch your curiosity? O.M.: It is difficult to answer this question because there are so many galleries and art spaces... Moreover, I must say that I was drawn to Japan and its culture mainly through literature, cinema, music, architecture, design, craftsmanship, etc., rather than through "visual art."
H.T.: Given your experience in both the European and Japanese art worlds, how would you say the Japanese art scene differs from the European one? O.M.: Actually, even though I have been active as a publisher and curator for fifteen years, I have always tried to keep my distance from the "art world," wherever it may be, whatever it may mean... Too compromising. I focus on singular encounters with a work of art. In the end, art is a solitary experience.
H.T.: Who are your favorite Japanese artists, past or contemporary? O.M.: So many names come to mind... Sengai Gibon 仙高義梯, Matsuzawa Yutaka 松沢宗, Takamatsu Jirō 高松次郎, Hi-Red Center, Nakaya Fujiko 中谷芦二子, Shimabuku 島袋道浩, Homma Takashi ホンマタカシ...
H.T.: If you had to introduce someone to Japanese art (contemporary or classical), which artist/medium/art form/podcast/book would you recommend? O.M.: "How to Wrap Five Eggs: Traditional Japanese Packaging" by Oka Hideyuki 岡秀行. This book encapsulates everything that makes Japanese aesthetics so appealing to me: everyday refinement, respect for objects, eccentric conciseness.
This conversation with Olivier Mignon has made us even more curious to visit Keijiban and Kanazawa. In the meantime, we will explore the works of these artists or rediscover them with fresh eyes.